by Leanna Tabora, staff reporter
Concluding an album about her past chapter of her life is done perfectly, but that’s not surprising when it comes to Taylor Swift. Even including bonus tracks that did not make the standard edition of 1989 makes the album better than it already is.
“Clean”– This song is the killer finale of the album, where Swift says that she is “finally clean” and “sober” from disgust and heartbreak over the negativity she’s received about her love life. She begins the album with welcoming her audience to the past two years of her life, and concludes it with telling her audience that the events of her past two-year chapter has cleansed her. “10 months older/I won’t give in/Now that I’m clean, I’m never gonna risk it,” Swift says in the bridge of the song, saying that she will never let the constant negativism take over her life and emotions ever again. Swift is now living her life on her own terms, has survived “the drought that was the very worst.” Co-written with Imogen Heap, this xylophone instrumented and electro melancholy song is a perfect conclusion for ending this synth-pop/late-80’s pop album. Grade: 10/10
Bonus Tracks
“Wonderland”– This first bonus track alludes Alice In Wonderland as a metaphor for a wrecked relationship. This dark track finds a relationship falling down a rabbit hole, taking a wrong turn in their relationship. “You searched the world for something else to make you feel like what we had/And in the end in Wonderland/We both went mad.” Swift once again fills her synth-pop songs with metaphors, and each and every one of them are very original and will never get old. Even though this track serves perfectly as a bonus to 1989, it would fit even better if it made the official album tracklist. Grade: 10/10
“You Are In Love”– This next warm-synthed and soft track closely resembles Swift’s “Starlight”, expressing the strong-willed love of Lena Dunham’s and Jack Antonoff’s relationship. This song serves as a commentary of their relationship, (Antonoff collaborated with Swift on this track), which includes lyrics full of imagery and emotion. “One night/He wakes/Strange look on his face/Pauses, then says/“You’re my best friend”/You knew was it was/He is in love.” Swift perfectly tells the love story between the two, making anybody who hears it jealous that their love life is not/may not be as perfect as Dunham’s and Antonoff’. Grade: 10/10
“New Romantics”– Concluding the bonus tracks, this lively and courageous 70’s and 80’s bands type song addressing how young adults approach love so calmly and mischievously. Swift uses “we” and “I” to say that she has embraced this mindset before the events spoken about in this album, but has now realized that “the best people in life are free.” Swift has proven herself to perspect love with a different attitude, and that it has resulted to be magical for her. Seeing a dynamic and happy Taylor Swift is arguably the best phase Swift has ever achieved, and she should never go back. Grade: 9/10
Overall Grade for 1989: Swift easily proves with this late 80’s synth-pop album that she can tackle whatever genre she decides to challenge with herself, which is why a new genre should be created just for her. With a few minor exceptions, 1989 is flawless, without a doubt. The world wouldn’t be surprised if Swift tackled a screamo metal rock genre and pull it off perfectly, because that’s what makes her so unique. There is no hesitation in believing that Taylor Swift tributed 1989 better than any artist ever could in this generation. 9/10
